US Harper's Bazaar September 2002 : Drew Barrymore by Patrick Demarchelier

New Attitude
Photography: Patrick Demarchelier
Fashion Editors: Jillian Davison, Mary Alice Stephenson, Polly Allen Mellen
Hair Styling: Kevin Ryan, Harry Josh, Gavin, Marcelino
Make-up: Virginia Young, Romy Soleimani, Christian McCulloch, Mark Carrasquillo
Manicure: Lisa Jachno, Jin Soon Choi
Models: Jessica Miller, Gisele Bündchen, Erin Wasson, Carmen Kass


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Bazaar Spells Out Fall's Best Dresses
Photography: Patrick Demarchelier
Fashion Editor: Jillian Davison
Hair Styling: Gavin
Make-up: Christian McCulloch
Manicure: Jin Soon Choi
Model: Erin Wasson


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Zip It
Photography: Tesh
Fashion Editor: Jillian Davison
Hair Styling: Serge Normant
Make-up: Christian McCulloch
Manicure: Jin Soon Choi
Model: Angela Lindvall


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Workweek Chic
Photographer: Patrick Demarchelier
Fashion Editor: Brana Wolf
Hair Styling: Jimmy Paul
Make-up: Gucci Westman
Manicure: Gina Viviano
Models: Carmen Kass and Anderson


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Fashion's Romantic View
Photography: Patrick Demarchelier
Fashion Editor: Mary Alice Stephenson
Hair Styling: Gavin
Make-up: Romy Soleimani
Model: Anne Vyalitsyna


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Easy Pieces
Photography: Tesh
Fashion Editor: Jillian Davison
Hair Styling: Serge Normant
Make-up: Sharon Dowsett
Manicure: Jin Soon Choi
Model: Jessica Miller



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The Faces Of Fall
Photography: Mario Sorrenti
Fashion Editor: Melanie Ward
Hair Styling: Recine
Make-up: Linda Cantello
Models: Filippa Hamilton, Eugenia Volodina, Anouck Lepere


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Noir At Night
Photography: David Sims
Fashion Editor: Anna Cockburn
Hair Styling: Malcolm Edwards
Make-up: Polly Osmond
Models: Kristina Chrastekova, Diana, Ives K., Ingrid Parewijck, Yana V.


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Seems like Michel Botbol was CD at the time, and Glenda had taken the reign as editor already.

Unfortunate that she was already showing signs of her brand of tacky-infestation over Liz and Fabien’s legacy so soon. The graphic design is hideous and so heavy-handed; my god-- that cover is a wall of words ready to assault Drew. But Peter’s and David’s stories are classic and remain timeless and still looks and feels fresher than the latest Bazaar issue. Missing Peter and his timeless gentlewomen...

Thanks aracic!
 
Seems like Michel Botbol was CD at the time, and Glenda had taken the reign as editor already.

Unfortunate that she was already showing signs of her brand of tacky-infestation over Liz and Fabien’s legacy so soon. The graphic design is hideous and so heavy-handed; my god-- that cover is a wall of words ready to assault Drew. But Peter’s and David’s stories are classic and remain timeless and still looks and feels fresher than the latest Bazaar issue. Missing Peter and his timeless gentlewomen...

Thanks aracic!

I guess she though it was « FUN »...
It’s insane to see the credits and to realize that at one point, Glenda’s Bazaar was kinda chic...

I miss Brana!

And is it me or is it just nostalgia but eds looks greater in film than digital...In particular for Patrick. Digital kinda killed the magic of his photography over the years...
 
^^^What decent flair Glenda did possess at one time, she gave in to the masses sensibility for flashy tackiness because the masses do like this sort of gaudiness that her Bazaar devolved into. It's what made it a success.

Nothing will ever beat print. But only if the magazine is a worthy production filled with solid, strong stories. And sadly these days, the overwhelming majority of rags just don’t cut it, nor know/care to present a fashion and design experience. It really is time to rethink and let go of old traditions and practices that the publication industry greedily and stubbornly still latches on to. Like @dior_couture1245 put it bluntly on another thread: It’s time to burn down the industry and start from scratch. Because that combo of greed and mediocrity is so ugly.

You know, I’ve been looking at Fabien’s Arena Homme Plus magazines and it’s such a sleek experience from page to page: It set a standard that has yet to be reached or surpassed 20 years later in both photography, styling and art direction. But his brand of design is hugely diminished in digital form. (His book Works is of such high quality in its paper stock and print-reproduction that although I’m not fully convinced of his selection, the experience of turning from page to page, along with the oversized book dimension, is really just pure aural and creative luxe. Now compare that too A.F. Vandervorst’s book Ende Neu— which unfortunately feels and looks so cheap: poor paper stock and a small dimension, along with such an unflattering layout, absolutely diminishes their brilliance.)
 

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